The work encapsulates much of what Harris has done to bring “street” dance to the stage over three decades. In “Losing My Religion,” I saw motifs from shows I’ve seen over a quarter century. I’ve written thousands of words on him and his choreographies, watching it expand to include humor and a deeper sense of ensemble work, becoming more intellectual and coherent with each new work, and even, take criticism. For one, not having women breakers in his early shows. He’s remedied that many times over. His current troupe includes at least six women, including his daughter Miyeko Urvashi Rennie Harris. A quartet by Rachel Snider, Taylor Madgett, Marguerite Waller (principal Dancer and company Manager,) and Miyeko Harris is a ferocious display of breaking skills.

I noted motifs from the ‘90s “March of the Antmen,” a protest against military and gang warfare. As with then, projected images loom on the back scrim. Now it’s grainy photos of ICE protests, people being arrested, pepper-sprayed, or beaten. With just 14 dancers listed, it looked more like an army, alternately defiant or falling dead.

There were progressions and distinctions visible between groups of dancers racing headlong on and off stage after displays of robotics, capoeira, and the most Asian-influenced eel-arm undulations I ever seen on this company. Variations in footwork, upper body gestures, and hand and head shakes were entrancing, suggesting old movie numbers, though with furious energy.

The trilogy began with a reprise of Harris’s world-renowned “Rome & Jewels,” bridged by last year’s brilliant “American Street Dancer,” where he made connections with street dance all around the country and which he’s called pure entertainment.